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Persian pottery

Persian pottery or Iranian pottery refers to the pottery works made by the artists of Persia (Iran) and its history goes back to early Neolithic Age (7th millennium BCE). Agriculture gave rise to the baking of clay, and the making of utensils by the people of Iran. Iranian pottery was sometimes referred to as Gombroon ware. Gombroon was used to describe the colorless nature and delicate texture of the pottery. The pottery included inscriptions and simple patterns that was often pasted on the sides. This style of art became influential throughout the centuries.

Through the centuries, Persian potters have responded to the demands and changes brought by political turmoil by adopting and refining newly introduced forms and blending them into their own culture.This innovative attitude has survived through time and influenced many other cultures around the world.

There were two types of earthenware that were prevalent in Iran around 4,000 BC: red and black ceramics that were simplistic in their decorative style. As the art expanded, earthenware incorporated geometric designs which resulted in a more developed decorative style. This increasingly complex style was accompanied by the creation of a wider variety of the kinds of pottery that were made.

In prehistoric period, the production of vessels included the mixture of clay, small pieces of various plants and straws, and water. When these ingredients were mixed together, they formed a very hard paste which essentially became the paste used for the base for creating all vessels in Iran. The creation of Vessels differed in the shape because they were made by hand. Around the 4th millennium BCE, the quality of vessel production enhanced because the potter's wheel was introduced. This table was used to produced symmetrically shaped, and better quality vessels.

The Islamic prohibition on using vessels made of precious metal at the table meant that a new market for luxury ceramics opened up. This allowed the pre-Islamic elites of the earlier Persian empires to produce fancy glazes such as lustreware and high-quality painted decoration. Overall, Persian pottery expanded in their use of tools and styles to improve art production.

Early Islamic period

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  Buff ware Bowl, Nishapur 10th century

The Samanid period saw the creation of epigraphic pottery. These pieces were typically earthenwarevessels with black slip lettering in Kufic script painted on a base of white slip. These vessels would typically be inscribed with benedictions or adages. Samarqand and Nishapur were both centers of production for this kind of pottery.

Nishapur is a city located in North-east Iran, and was founded by the Sasanian ruler Shapur I around 241-72 AD. This city fell under the rule of Islam around 651and essentially became a city of flourishing arts and crafts. Some of the art produced was earthenware, glass, metalwork, coins, decorative walls, and carved and painted stucco (Wilkinson, 26). The production of earthenware vessels, ceramics, and other forms of art were being exported around their neighboring villages. This kept their political power on the rise because they were able to dictate the areas where their art could be imported. Ceramics was one of the art that was imported and unique to the neighboring cities of Nishapur. One of the most common group of ceramic was called buff ware.  The buff ware are characterized by images with purple and black outline painted on to the vessel. The buff ware also included the mixture of yellow and green glazes.

Innovations in ceramics from this period include the production of minai ware. One of the most famous examples of the minai ware technique is the large bowl now at the Freer Gallery in Washington DC. This image depicts a battle that occurred between the Turkish emirs in the Northwest regions of Iran. The front of the plate depicts a siege of the castle, and the back portrayed hunting. This plate is one of the largest haft in existence. It incorporates inscriptions used to identify the protagonist of the story. The landscapes and architectural elements used in the Freer Gallery's Siege Scene plate makes the art unique. The overall story of the plate reveals the victory for the besiegers and defeat for the besieged. There are other types of minai ware that uses different techniques to portray its story. Some are enameled with figures on a white background, and uses fritware, and silicon-based paste, rather than clay. Metalworkers highlight their intricate hammered designs with precious metal inlays.

One potter, Abū Zayd ibn Muḥammad ibn Abī Zayd (active c. 1186 – 1219, Kashan) has signed 15 surviving pieces, more than any other medieval Iranian potter.